「圖.像」：敘事性肖像畫創作論述

Abstract

在這三組系列的創作中，筆者更關注的是繪畫本身，即用阿爾貝蒂提出的「歷史性繪畫」及貢布里希提出的「視覺的再現科學與心理學」的理論，通過對繪畫再現的形式美學進行辯證的思考與分析，將繪畫的步驟逐步拆解為心智從客觀到主觀創造的過程，藉以論證「結構主義」在繪畫思想中的重要性，為筆者接下來的「詞圖視覺理論」的研究做好基礎概念的鋪墊。作品題材以肖像畫為原點，以歷史為橫坐標，主體性為縱坐標，分析具有敘事功能的肖像畫這一類型繪畫是如何體現出西方現代主義中討論的「個性」這一人文概念，並將之擴大到社會學的範疇，來說明肖像畫的重要意義。文章通過形式與創作過程的分析，扣住了西方上千年藝術史探索的「再現」這一主題，解釋了繪畫形式中所代表的關於形神兼具的辯證思想，以及結構主義的重要性，試圖利用繪畫的語彙探索圖文演繹的可能性。During the process of making three series of paintings, I try to explore the conception theories of painting itself, which is articulated by Leon Batista Alberti in the term of ‘Istoira’ of the picture and proposed by E.H.Gombrich in the term of ‘Science and psychology theory of representation’ in order to analyze the form of the genre of Portraiture in a formulation of a decorative sphere, which embodies a kind of authentic beauty of the term ‘Identity’ using psychological thinking of the contemporary Western society.I gradually divide the painting steps into several processed mind pieces from objective to subjective, in order to demonstrate the importance of"structuralism" while analyzing the formal aesthetics dialectically in order to lay the foundation for the basic concepts of the research of visual theory. I draw a diagram of these ten portraitures whose theme as the origin, history as the abscissa, and subjectivity as the ordinate to analyze the meaning of the narrative portraiture which embodies the humanistic concept of “individuality" discussed in Western modernism, and extend it to the category of sociology to illustrate the importance ofthis painting genre.Through the analysis of form and process, the article buckles the theme of"representation” which has been discussed in Western art history for hundreds of years, whose philosophical idea is about Structuralism, in order to explore the possibility of a new art theory of contemporary portraiture, trying to use the vocabulary of painting to explore the possibility of theory between text and visual’s interpretation.